Visioning Charrette

Museumvisioning of the charrette Americas February 9, 2001

conducted by with LORD CULTURAL RESOURCES Museumtable of of contentsthe Americas

Page 3 Introduction 15 Visioning Charrette Minutes Workshop #1 Introduction 5 Executive Summary Workshop #2 Purpose Charrette Overview Workshop #3 People and Place Purpose Workshop #4 Experience People and Place Workshop #5 Cultural Resources Experience Workshop #6 Vision Cultural Resources Next Steps Vision Next Steps 34 Appendix Visioning Charrette Attendees 11 Vision, Mission, and Mandate Upon Reflection Cards Background Definitions Guiding Idea Draft Foundation Statements

1 2 launched the planning process for the Museum of the Americas.

On December 19th, 2000 experts from a vast ar- ray of disciplines gathered to initiate the realiza- tion of the museum. A Visioning Charrette was held at the Washington, D.C. offices of HNTB Museum of the Americas Architects at 421 7th Street, Northwest. The Or- ganization of American States, Inter-American Development Bank, Museum of the Americas Foundation, Museum Board of Directors, cultural introduction institutions, the National Capital Planning Com- mission, cultural experts, and potential financial partners participated in this daylong gathering. For millennia, the Western Hemisphere has been Through a series of workshops, this meeting home to a multitude of peoples and civilizations sought to identify, generate, and examine ideas rich with culture. However, these cultures have about the museum. long been underrepresented in mainstream cultural institutions. Washington, DC, a center of This document represents the input and insight cultural education, does not dedicate a museum gathered from the Visioning Charrette. The in- to the Americas. The vastness of the Western formation to follow is an account of the growth Hemisphere provides room for many stories to of the museum vision. Individual impressions be told; however, many go untold. While richly recorded on reflection cards from the visioning diverse, these cultures also share inherent com- session represent the very roots of the realiza- monalties. It is a belief by many that our Hemi- tion process. Establishing a context for these sphere is in need of a place to express our cul- ideas, the meeting minutes are a sequential ac- tures collectively. count of the day’s development. The executive summary draws the themes of the meeting to- The Museum of Americas Foundation was es- gether. Finally, the drafts of the vision, mission, tablished to bring to life the vision of a museum and mandate seek to provide a direction for sub- representing the Western Hemisphere. In spring sequent phases of this project. of 2001, the Foundation will also open Muse Experience Americas, the virtual predecessor of the physical museum. Subsequent to substantial comple- regions vs nations tion of Muse Americas, the Foundation has

3 what doExperience we see

4 a six-year period. The charrette is the kick-off to the Master Plan Phase, which will last approxi- mately seven months. Building design, exhibit design, construction, comissioning, and exhibit installation are the key activities to follow.

The charrette was organized into a series of work- Museum of the Americas shops designed to explore and elicit ideas that will help formulate the museum concept and compose the vision, mission, and mandate. The workshops were entitled Purpose, People and Place, Experience, Cultural Resources, and Vision. executive summary Supplementing these workshops were break-out groups and an opportunity for each participant CHARRETTE OVERVIEW to record their individual reflections. The charette concluded with remarks by Lucy Duncan and The Visioning Charrette began with introductions Greg Powe. by Lucy Duncan of the Museum of the Americas Foundation, and Ronald L. Scheman of the Or- ganization of American States. Ms. Duncan de- PURPOSE scribed the opportunity, excitement, and responsibility that this challenging undertaking repre- Why undertake this endeavor of building a new sents. She also provided a brief synopsis of Muse museum dedicated to the Americas? Supple- Americas, the virtual predecessor of the bricks mented by a series of images, this question asked and mortar museum. The on-line museum will by Roxanne Williams, Design Principal at HNTB, open in spring of 2001, coincident with the OAS elicited dynamic and spirited dialogue. The need summit in April. Mr. Scheman gave a brief his- for cultural representation of the Americas is un- tory of the project to date, including the incep- deniable. Without such representation, the many tion of the museum and the tremendous educa- cultures of the Western Hemisphere lack a uni- tional potential intrinsic to this project. fied voice in their own story and history telling. For centuries, Western Hemispheric history has Mark Erdly and Greg Powe of HNTB, provided a been presented in terms of Euro-centric percep- brief overview of the project process and sched- Purpose tions. However, the western continents were rich ule. The project is currently in the beginning in history and civilizations before the European inspire phases of a schedule that is likely to extend over conquest. The story of the migrations of people

5 across unpopulated continents, is one in need the occasion to learn from the past, the develop- of a truthful recount. Although the Western ment of improved cultural relations, and the Hemisphere is full of diversity and different reattribution of cultural authorship in the Western cultures, the people of the Americas share com- Hemisphere. The group discussed how some of monalities that should also be celebrated. The these accomplishments should be made possible, longitudinal unfolding of history in the West- thus helping to define the new museum’s purpose. ern Hemisphere inextricably links these cultures The museum should project themes of hope and together, as does their shared geography and truth in exhibitions that are inclusive of all the natural resources. Americas. In order to attain inclusiveness, it will be necessary to represent the truth from several Having established the need for cultural rep- perspectives, therefore enabling the museum to resentation of the Americas, the charrette group celebrate and communicate with the many unique discussed the construction of a new museum identities of the Western Hemisphere. by evaluating the importance of physical place. By providing a sacred site for the integration of the many cultures of the Western Hemi- PEOPLE AND PLACE sphere, their stories can be told with powerful, experiential impact. Confronting the visitor Introduced earlier in the charrette, Muse Ameri- with not only artifacts and relics of the cultures cas plays in important role in defining the of the Americas, but also the sounds, smells, museum’s relationship with people and place. foods, and live performances found in the The unique location of the new museum will en- Western Hemisphere, a lasting impression with able it to become accessible to many people. a reinforced relevance will be made. This dy- However, the website broadens the reach of the namic environment will enable the museum to museum’s purpose exponentially, as well as en- reeducate the public through history, the hances the purpose itself. While it is expected present, and also the future. Through such an that they will operate independently, the physical interactive approach to museum exhibition, the museum and the website are both symbiotic and space will develop a sense of belonging for complimentary. The Museum of the Americas the visitor. predecessor, Muse Americas will provide end- less opportunities of outreach to those otherwise Furthermore, the opportunities afforded by the unable to travel and experience the museum. On- Museum of the Americas will be invaluable. line exhibits and galleries, links to other muse- Many aspects concerning the culture of the ums, forums for cultural exchange, interactive plat- People & Place Americas will benefit from the new museum forms, and a Muse marketplace will all promote including the motivation of scholarly research, instant access to the cultures of the Western Hemi- the neighbors

6 evolution calls for museum collections and the spaces they occupy to be flexible. Identifying the museum stakeholders, the people who are critical cultural and financial contributors, as well as those who hold an interest in the museum or an investment in a cultural memory will be another challenge. It is to this group of stakehold- Museum of the Americas ers that the museum must be responsive. The Museum of the Americas must also be con- scious of its surrounding physical site. Neigh- executive summary boring entities include the Washington Monument, the White House, the Simón Bolívar Statue, Con- stitution Hall, and the historic OAS building it- sphere and encourage global connections. self. The powerful symbolism of the neighborhood and of Washington DC provides the op- The actual physical site of the museum will also portunity to incorporate some of its magic into be advantageous to drawing visitors. Located the vision of the project. However, the group on the OAS headquarters property, the site will also identified some shortcomings of the site. Its benefit from its proximity to the cultural hub of relatively small size may impose limitations on Washington, DC, the National Mall. Addition- the museum and its program. Additionally, the ally, the number of museum visitors, as well as location within Washington, DC poses the prob- DC tourism in general, has increased dramati- lem of interpreting the museum as American rather cally in recent years. Attendance varies widely than Hemispheric. The museum should be uni- in Washington museums, ranging from the tens versal, a place distinct from the U.S. and Wash- of thousands at some institutions to ten million ington, DC, reinforcing its independence from a annually at others. Thus, attendance projections place perceived by many to symbolize cultural are one of the major planning challenges for the hegemony. However, as an international orga- museum. Contributing to this challenge is the nization representing all of the American mem- wide range of types of visitors. Due to the vari- ber nations, the OAS site will buffer these pre- ety of museum-goers and the relationship between conceptions, enabling visitors to enter a neutral visitors and museum subject matter, the museum space. Concurrently, it is also important to link People & Place must maintain flexibility; audience drives con- the museum with its geographic home, Wash- tent and content drives audience. The evolution ington, DC. By integrating this cultural institution the physical site of museums tends to reflect cultural changes. This with its city populace, the horizons for reeduca-

7 tion and outreach widen. be diffused throughout the Museum of the Ameri- cas. Through the application of indigenous materials of the Americas to the exterior and inte- Experience EXPERIENCE rior of the museum, the building itself could become a fusion of culture. To reinforce this bridg- The charrette group also began formulating ideas ing of cultures, the museum should escape from shock of what the visitor experience should encompass. Euro-centric patterns of thinking and conversely Should the museum be sensory, technological, explore the North-South linkages of Western social, sacred, flexible, interactive, dynamic, Hemispheric history. Additionally, it is vital for evocative, educational, apolitical, communica- the museum to reject stereotypes and kitsch in tive, digital, narrative, or musical? Responding order to establish the authentic cultures and his- to these questions enabled the charrette group to tories it presents and strives to connect. Technol- examine many aspects and expectations of the ogy can also enhance the experience of the mu- project. Of primary importance was the seum by facilitating both inward and outward museum’s handling of the past; in order to learn expressions. from the past, it must be treated with honesty and respect. This applies to not only the museum’s content, but also to its appearance. Sensitive CULTURAL RESOURCES integration of the building with its surroundings is vital to the success of creating a modern, for- Cultural resources are the people, institutions, and ward-looking building in a historically rich neigh- agencies that comprise a cultural knowledge borhood. base. The participants of the visioning charrette come from a diverse background of work in this Experience is reliant on components such as cul- arena and thus were instrumental in identifying tural background, political and geographical some of the available and potential resources. delineation, and education. The recovering and The charrette team was divided into break-out rediscovering of the past and of cultural identi- groups and tasked to further explore and define ties necessitates that a variety of approaches be the key guiding issues of precedents, partnerships, taken so that many people may be reached; com- collections, and topics. prised of different experiential levels, the museum will enable a diversity of cultural identities to con- Precedents, such as spaces and cultural muse- nect with the museum and with each other. By ums will be studied during the planning process. manifesting a fusion of physical, technological, They will serve as models of organization, pro- Experience and natural resources that help characterize the cess, and content as well as providing approriate Western Hemisphere, a theme of connectivity will examples of a vision, mission, and mandate. This the digital environment

8 The topics break-out group focused on the possibilities related to museum exhibits. Due to the many permutations of exhibit content, and the methods of presentation and implementation, the topics of anthropology, the arts, culture, science, nature, and spirituality were selected as points Museum of the Americas of discussion. As a whole the topics group reit- erated and further developed many of the ideas previously expressed that relate to experience and purpose. Such themes include the focus of ex- executive summary hibits on subjects that cross borders and those that are guided by participant experience. The group revisited the idea of a permanent histori- break-out group generated a list of precedents cal exhibit that is also dynamic and flexible. that included cultural institutions, other museums, While drawing connections among cultures was international organizations, existing partnerships an overarching theme of these discussions, the among institutions, and aspects of the OAS. Key group also explored ideas of exhibits explain- contacts to some of the listed cultural institutions ing the process of similarities diverging and ulti- were also identified. mately creating diversity. The discussion also expanded on ideas such as the incorporation of Partnerships provide the opportunity to draw from a multi-media approach including TV, cinema, an existing network of expertise and insight. music, smell, food, technology, theater, landscape, These opportunities build knowledge on subjects and natural history. This interactive approach such as collections, public and museology edu- will aid in the challenge of appealing to multi- cational programs, and professional relationships. lingual audiences. However, this challenge will Potential corporate, financial, educational, and stimulate the production of exhibits rich in sound cultural partnerships were identified. Addition- and language. The criterion for exhibits to be Experience ally, this group established four priorities of the multi-lingual, multi-disciplinary, and multi-per- development of partnerships: the development of spective, ensures a dynamic environment. Fur- color credibility among cultural institutions and asso- thermore, the museum exhibits should be rein- ciations, the identification of current and future forced by parallel on-line exhibits. funding partners, the identification of user groups and visitors, and the establishment of relationships with the media.

9 VISION and the museum should combine the vitality of youth with rich, ancient traditions. One of the end goals of the visioning charrette was to begin formulizing a vision, mission, NEXT STEPS and mandate for the Museum of the Ameri- cas. These three foundation statements will This draft of the vision statement will be revised serve as guiding principles for not only the and finalized as the project’s stakeholders are project, but for the life of the museum as well. consulted, and the concept of the museum be- The vision expresses the museum’s impact on gins to materialize. Related to developing the the community and the world. The mission is mission and mandate, key issues surfaced dur- the inspiration and reason for existence of the ing the charrette that will need to be addressed. museum. The mandate is the parameters of These include the prioritization of stakeholders, the museum, or the extent and limitations of context and location, the handling of the future its main responsibilities. This part of the and past, optimizing place, producing multiple charrette gave its participants a unique op- perspectives, identifying the story-tellers, and the portunity to reflect upon the discussions of the issue of representation. The resolution of these day and write down their thoughts about the key issues will be part of the next steps in the museum. These cards were instrumental in Planning Phase of the Museum of the Americas. the composition of a first draft of the vision statement:

The museum is a place that connects people of the Western Hemisphere through a search for common roots to explore our past by identifying truth and understanding differences to inspire our future. Purpose The discussion that followed the drafting of the vision identified several important issues that should be incorporated into the museum’s to communicate foundation statements. The museum should be inclusive, respectful, networked, personal, and immersive. It should be a place where “please touch” replaces “please do not touch”,

10 DEFINITIONS

There are three fundamental foundation statements used to guide museums in the early 21st Century:

· The Vision Statement expresses the museum’s Museum of the Americas impact on the community and the world. This statement guides museum leadership in its long range planning. vision, mission, and mandate · The Mission is a brief and inspiring asser- tion of the museum’s long-term reason for existence. This statement guides all museum BACKGROUND policy development.

In December 2000, an historic meeting took place · The Mandate refers to the parameters of the in Washington D.C. with the purpose of envi- museum, defined by the extent and limita- sioning a Museum of the Americas. The results tions of its main responsibilities. Mandated of these discussions are recorded in the Execu- museum responsibilities usually encompass tive Summary and in the collated comments from the scope of collections, the disciplines to be the Upon Reflection Cards written by participants, addressed (e.g. Is it an art or science mu- in the Appendix. seum or both?), the audience focus, and the geographic boundaries of subject matter. The LORD Cultural Resources has utilized these docu- mandate guides the museum’s relationships ments (informed by our own experience of par- with other institutions (including other muse- ticipating in the charrette), market and contex- ums), partnerships and affiliations, and many tual research we conducted immediately follow- policy areas. ing the charrette, and our 20 years of experience in museum planning to compose drafts of Generally, these three foundation statements are the foundation statements for the Museum of the formulated through a process of internal self-ex- Americas. Experience amination and external consultation such as in a Master Planning or Strategic Planning process. color They are then adopted by the museum’s Board, and are reviewed and amended periodically,

11 such as when there are major changes in the ex- · The museum will educate and create a bridge ternal environment or within the museum. to link the diverse peoples of the Americas. · The museum will conduct its work through affiliations and collaborations with other mu- GUIDING IDEAS seums and cultural and educational institutions throughout the Americas. The Visioning Charrette arrived at a consensus concerning eight major ideas, which are reflected in this first draft of the foundation statements. DRAFT FOUNDATION STATEMENTS These ideas will be further studied in interviews with potential partners and affiliates throughout Vision Statement the Americas as well as through market analyses and further discussion and debate. As these guid- The Museum of the Americas connects people of ing ideas evolve during Master Planning, the foun- the Western Hemisphere by searching for our dation statements will develop through several roots, exploring our past, celebrating our diverse drafts. cultures and promoting our common future. · The museum will be inclusive, and respectful Mission Statement of all peoples and their cultures. · The visitor experience will be personal, The mission of the Museum of the Americas is to immersive, and interactive. inspire, engage and educate visitors about the · The museum will seek truth and recognize struggles, achievements, and shared experiences the need for multiple viewpoints in its pre- of all the peoples of the Americas through exhi- sentations. bitions, performances, discussions, activities, re- · There will be no permanent collection; the search, and publications created in collabora- museum will borrow artifacts and works of tion with cultural and educational institutions art for its exhibitions.1 throughout the Hemisphere. · The museum will embrace all aspects of the arts and cultures of the Americas including: Mandate food, music, performance, fine art, design, People & Place architecture, folk and popular arts, and me- The Museum of the Americas will create and host dia. physicality exhibitions, performances, and festivals about the · The museum’s focus will be on cultural expe- peoples of the Americas from the earliest migra- rience and heritage rather than on political tions to the present and future. The museum’s ap- experience and institutional history.

12 Museumvision, of mission, the Americas and mandate

proach will be cultural in the broad sense by encompassing popular and folk arts, media and contemporary culture as well as fine art, architecture, design and craft, archeology, ethnology, history, the environment and the sciences. The museum will not be a collecting institution, but will adhere to the highest international museum standards so that it may borrow art, artifacts, and specimens from public and private collections throughout the world. The museum will be committed to facilitating networks and affiliations among cultural and educational institutions throughout the Americas to further its mission and to ensure that multiple perspectives are reflected in its research, exhibitions, and public programs. 1 This was the conclusion of the breakout group on Collections and seemed to be the consensus Experience of the charrette. Several individual comments cards, however, indicated a preference for col- shock lections.

13 the evocativeExperience

14 ums, the physical will be built subsequent to the virtual museum.

Museum Perspective – Ronald Scheman

Mr. Scheman, Director General of the InterAmerican Agency for Cooperation and De- Museum of the Americas velopment at OAS gave a brief history of the project. The museum was initially envisioned by the Inter-American Development Bank about five years ago as a way to bring together the various meeting minutes cultures, nations, and peoples of the Americas. Its content was primarily to be cultural and archeological artifacts and artwork of the Western Workshop 1: Introduction Hemisphere collected and warehoused by the Smithsonian. These Smithsonian artifacts, num- Opening Remarks – Lucy Duncan bering near 500,000, have no dedicated exhibit space. In contrast to the cultures, histories, and Ms. Duncan, President of the Museum of the peoples of other places, Latin America is not rep- Americas, opened the visioning charrette. She resented by a Smithsonian museum. The museum described the opportunity, excitement, and re- was intended initially to resolve this deficit. sponsibility that this challenging undertaking presents. She stated the charrette’s purpose: to bring The concept for the Museum has continued to together important project stakeholders – OAS evolve to include a range of potential partner- representatives, cultural and museum authorities, ships. Affiliations with organizations such as and key sponsors – to explore the purpose, Mexico’s National Institute of Anthropology and people, place, experience, and cultural resources History (INAH) or the Smithsonian Institution in of the museum. In doing so, a vision, mission, the U.S. are two examples of the many partner- and mandate for the project can be developed. ships the Museum can explore throughout the countries of the Americas. Ms. Duncan also provided a brief synopsis of Muse Americas, the “virtual” predecessor of the Mr. Scheman identified three audiences: the People & Place bricks and mortar museum. This virtual museum U.S.public, the U.S. Hispanic community, and the will open this spring, coincident with the OAS people of the Western Hemisphere. He noted the the neighbors summit in April. Unique to the majority of muse- tremendous educational potential intrinsic to this

15 project. The Western Hemisphere will be fully voking images, and a sequence of questions in- Purpose wired in five to ten years, thus providing a forum tended to promote exploration. Is the museum’s for the virtual museum to share meaningful con- purpose to immortalize, to entertain, to celebrate, immortalize tent. to promote, to unite, to enrich, to communicate, to educate, to inspire? Through this process we Process – Greg Powe and Mark Erdly should shed preconceptions and look at ordinary things and see the unusual. With this introduction Greg Powe, Managing Principal at HNTB Archi- as a backdrop, the participants raised the fol- tects, and Mark Erdly, Director of Public Archi- lowing points.1 tecture at HNTB Architects, provided a brief overview of the project process and schedule. Cur- Discussion rently in the beginning phases, this project will likely take about six years to complete. This · If the museum is to be “inclusive” of the charrette is the kick-off to the Master Plan Phase, Americas then it should not be perceived to which is about seven months in duration. Build- focus exclusively on Latin issues or the Span- ing design, exhibit design, construction, commis- ish speaking Americas. A museum of the sioning, and exhibit installation are the key ac- Western Hemisphere should in fact banish tivities to follow. the term “American”. However, too much inclusiveness might lead to homogenization of content. The museum should also celebrate WORKSHOP 2: PURPOSE diversity. Diversity and inclusiveness are not mutually exclusive. Introduction – Roxanne Williams · Many cultural spokespeople today treat the Western Hemisphere as “empty continents” Roxanne Williams, Design Principal at HNTB prior to European occupation 500 years ago. Architects, facilitated an introductory workshop The museum should examine the migration that explored the fundamental question, “Why of peoples prior to European “discovery” and undertake this endeavor of building a new mu- conquest. The museum could adopt an his- seum dedicated to the Americas?” What is the torical timeline theme, uncovering and hon- purpose for this project? Based on these discus- oring the roots of culture. sions and others during the course of the day, a · Economic integration and technological ad- vision, mission, and mandate for the project can vances are causing globalization and the re- then be established. sulting cultural homogenization. An example is ubiquitous North American culture. Fur- Ms. Williams presented a series of thought-pro- thermore, North and South America are in-

16 documented. The process of documenting Caribbean artifacts should not result in their warehousing. · This project has the opportunity to reeducate the public by redefining the historical timeline and cultural authorship of the Western Hemi- sphere. Museum of the Americas · Within the global context of human history, the Western Hemisphere is a New World. The implications of people populating a new geography can and should impact the way meeting minutes people of the Americas today view their relations with others. A paradigm of people living together and creating commonalties creasingly drawn together economically, and within diversity can be articulated given these therefore any distinctions between the two, Hemispheric roots. What impact does this other than geographic, are becoming increas- idea have on the new museum both physi- ingly less valid. The Internet has globally con- cally and programmatically? nected people. Consequently, how do we · The museum’s purpose should be to celebrate, maintain the identity of our hemisphere from educate, inspire, and connect. At the core of the rest of the world, and how do we draw these lofty goals is the search for our roots, cultural distinctions when these distinctions which is a process that celebrates diversity are becoming increasingly blurred? while connecting humankind. The museum · The Caribbean culture can be thought of as should educate visitors who will learn from representative of a “New World culture”. the past. The museum should identify with · The ever-increasing “Latinization” of the U.S. the past, drawing inspiration and command- creates the opportunity to present a “shared ing awe. For example, a history of techno- culture”. logical advances in the Western Hemisphere · Many past and present Hemispheric cultures includes advances in Mayan civilization and and civilizations have not documented their Man’s landing on the moon. cultural heritage and resources. This chal- · When different cultures meet, they may con- lenge also creates the opportunity to bring nect. They may also clash which may lead to Purpose awareness to this issue and to motivate ad- pain and suffering, and ultimately healing. vances in scholarly research. Caribbean ar- · Although many of the museum’s themes will unite tifacts have been well collected, but not well be inspired by hope, we must also commit to

17 truth. With truth, hope equals honesty. Na- · Unlike most of the rest of world history, the Purpose tive Americans want and deserve a truthful history of the Western Hemisphere unfolds telling of their past. longitudinally. The Pre-Columbian develop- educate · The Internet and computers have profoundly ment of indigenous civilizations, migrations impacted all cultures of the Americas. For of peoples, communication, and development some, access is very limited, and therefore of cultures occurred primarily North-South, the “level playing field” promoted by many not East-West. This is an important theme that is not achieved. Lack of access, in fact in- unifies the Americas. creases inequities. Therefore, the tools of tech- · The project and process should identify the nology need to be available and accessible. common threads that connect our Hemi- For other cultures historically marginalized, sphere, while also accepting and celebrat- the Internet has provided a medium for com- ing the differences. Connectivity is an munication, scholarly research, promotion, overarching theme in the discussions. and celebration. Examples of the latter in- · Countries have personalities; regions within clude Rastifarian culture and the study of an- the Hemisphere are not homogenous. The dis- cient Mayan languages. tinction between “country” and “people” is · The Western Hemisphere before European also important. Characterizing people is conquest was active, alive, and sacred. Can more accurate than generalizing about the this museum help “re-map” the ancient populace of a specific political nation. The Americas characterized by these adjectives? histories and cultures of the people within a The common geography and natural materi- country are typically very diverse. als of the hemisphere should also be com- · Two important points should be raised about municated. The geography can be charac- fundraising. First, philanthropists and the so- terized as “up, down, and sideways”, for called cultural elite are an important part of example. Common materials include gold this project’s audience, and will be signifi- and silver. The museum should explain why cant supporters and benefactors. We should these commonalties are important. Can the not alienate them in appealing to a broader building itself express this conviction? audience. Second, we should consider the · The distance learning project at the World cost-benefit of this project, given the overall Bank is a good precedent for the educational “philanthropic pot” that will be financing it. potential of this project. Consider the museum The project’s significant cost will extract as an “electronic referee” between commu- money from the philanthropic community - nicating entities. money that would otherwise be spent on other Purpose · There are many hemispheric myths to dispel, worthy endeavors. Fundamentally, this money and many mythologies to celebrate. is buying a building. If the goal of the project enrich

18 ize the future. This is a considerable and emotive responsibility. How will the world look in twenty years? The future cannot be visualized without a truthful recounting of the past. Can we tell the truth? Can the story be told? For example, how is repatriation presented, and what does it mean for the future Museum of the Americas of historically plundered cultures? The story we tell will need to be a thoughtful one. · Two of the most important purposes of the museum are to connect and enrich. There- meeting minutes fore, the museum needs a strong sense of belonging. A “wide open” concept won’t work. is to distribute knowledge, are there better · We cannot have a strong master plan with- ways to achieve this goal than to build a out asking the right questions. The curatorial building? There is a tremendous debt of re- process requires comprehension and selec- sponsibility given the scale of the undertak- tion. The key challenge facing all museums ing. today is flexibility. Flexibility can be defined · The need for a place, a sacred site, sanc- in terms of thought, organization, content, and tions the physical building. This sacred space production. Defining the museum’s stakehold- is reinforced by its location on OAS prop- ers is of importance. Are they all people of erty. The feeling of awe in the presence of the Americas? this sacred space will be important in con- Purpose necting the Americas. Equally important, the physical proximity and closeness of an indi- celebrate vidual to an essential body of culture rein- forces its influence, centrality, and relevance in today’s world. This intimate relationship between object and viewer cannot be achieved through text or the virtual world. In this regard, the virtual and physical museums are symbiotic; they will be complimentary, intertwined, and reliant on each other. · This museum will help to shape and visual-

19 WORKSHOP 3: PEOPLE AND PLACE ganized independently, in conjunction with People & Place the physical museum, from young artists, or Virtual Site – Lucy Duncan from arts and cultural groups. physicality · There are many opportunities to provide in- Ms. Duncan described the functional purpose and teractive platforms for learning. These could opportunities of the Muse Americas website. The take the form of a virtual field trip to an insti- driving goal of the website is to provide a virtual tution and its scholars, distance learning, re- environment that reaches out to users while si- search repositories, and educational pro- multaneously being inclusive of the Americas. The grams. bi-directional aspect of information transfer has · The virtual museum can also facilitate cul- been key in the overwhelming support of the elec- tural expression and identity by presenting a tronic museum. muse marketplace featuring a gift shop where small museums can consign items for sale, This is the first time that a virtual museum has or with an online sales gallery for fine arts been developed prior to the establishment of a auctions and handcrafts and arts made by physical museum. The presence of the virtual site emerging artists. opens the museum to schools, communities, and · A virtual site can also be a forum for link- to those unable to travel. This window to the Mu- ages between cultural institutions, schools, seum of the Americas is global and facilitates all and villages. areas of Western Hemisphere study. It is intended · It is a place where people can tap into cul- that the virtual museum and the physical museum tural transfer, a place to think longitudinally, will operate as two separate entities and will con- to dispel myths, and also to embrace myths. tinue to do so. They enhance one another, but operate independently. The following discussion Physical Site – Tom Storrs ensued. Tom Storrs, Design Principal at HNTB Architects, Discussion described the neighboring area of the proposed museum site and also explored the idea and · The virtual museum will feature links to other meaning of a physical site, or place. The term museum sites that would provide comprehen- place can refer to the virtual museum Muse sive access to all national museums in the Americas, the physical museum, and possibly to Americas, and in the future, to private muse- satellite cultural facilities throughout the member ums as well. nations. · The range and potential for on-line exhibitions is great. These exhibitions can be or-

20 the magic of this site and incorporate that magic into the vision of the project. Some of the significant neighboring places are:

— Washington Monument — The National Mall — Simón Bolívar Monument Museum of the Americas — Constitution/DAR Hall — Corcoran Museum — The Ellipse — The White House meeting minutes — The future WWII Memorial — The Organization of American States

Places hold power in the development of human Discussion experience in many different ways. The sense of place goes to the very core of the human experi- · It was originally thought that the museum site ence and is often characterized by the five senses: was limited to the northeast and southeast sight, sound, smell, taste, and touch. We remem- sections of the city block between 17th and ber the places of great visual beauty, or we re- 18th Streets and Constitution Avenue and C member the noise of an urban landscape. More Street. Discussion revealed that the site is con- than great architecture, geography, or beauty, ceptually bounded by C Street and Constitu- Washington, DC is a place of symbolism and tion Avenue and 17th to 19th Streets. Virginia idea. The power in the city’s place is experiential Avenue runs diagonally and further subdi- and those experiences have been played out at vides the site. The OAS owns the OAS Head- the Holocaust Museum, the Vietnam Memorial, quarters site, the OAS Administration build- and with events such as Martin Luther King’s ing is currently owned by the U.S. Secretary speech at the Lincoln Memorial. These experi- of State and the National Park Service owns ences make Washington a place of education, the park site of the Bolívar statue. The Holo- learning, discovery, remembrance, celebration, caust Museum was used as an example and unity. where a government agency has signed over a site to its user when the Government Ac- People & Place The neighborhood that surrounds the site of the counting Office signed over the site to the Organization of American States has power in museum on March 17th of 1981. the neighbors its symbolism. The opportunity exists to discover · One of the concerns for the site is its size

21 relative to the program. The site may limit expanded in the USA) People & Place the museum’s size and program. – Growth in cultural tourism · Because of the perceived hegemony of the – Museums are more exciting places United States within the Western Hemisphere, – The increasing role of women as deci- the neighbors another concern is that the museum site is in sion-makers in families, in schools, in the Washington, DC. Misgivings lie in the ability tourism industry, and government for the museum to be perceived as – The increasing role of cultural minorities “borderless”, or independent. However, these in our society misgivings are balanced by the location of – The need for the physical museum exists the site on, or as a part of OAS property. because it is critical for visitors to see This gives the museum the opportunity to be objects and information in a contextual a place where one crosses a threshold to a setting. This experiential element to the new place that is outside and independent of bricks and mortar building can be de- Washington, DC. This neutral territory is a scribed as “humanity touching the body place where walls are transparent, and where of culture”. In order for us to understand time and place becomes meaningless. and realize the full impact of an event, the objects and information of that People – Gail Lord moment must be viewed in relation to one another. Gail Lord, President of Lord Cultural Resources, led the discussion about people. The term people Tourism has increased, with some twenty million embraces the culture and individuals that popu- visitors (of whom two million are international late the Western Hemisphere. They may be com- tourists) to Washington per year. There is a broad prised of visitors to the Muse Americas website, variation in attendance at museums ranging from member countries, and visitors to the museum the low 100,000’s to a high of ten million at the located in Washington, D.C. Air and Space Museum. What is the likely range of attendance at the Museum of the Americas? – The number of visits to museums in the This will be a challenge for our planning team to United States has grown by 147% to more project. The comments that follow address these than 225 million visits. This has been fu- questions and also raise other issues and ques- eled by a number of factors: tions. – Increased access to museums (i.e. there are more museums in more communities Discussion than ever before. For example, in the last two years, 150 museums were built or · Museums have evolved to encompass some

22 · How are visitors, who would not ordinarily come, attracted to the museum? Are academic connections a way to induce students and academia to visit and use the museum as a cultural resource, or as a museology teach- ing center? · Another major task is to define and refine Museum of the Americas who the stakeholders will be. Stakeholders are persons or groups of people who have an interest in the institution and who have a direct connection with the institution. Some meeting minutes intangible factors for being a stakeholder are: – Investment in a cultural memory – Sense of pride of our cultural changes and expectations. – Representation They have moved from the realm of indi- – Ownership vidual and contemplative display, and are – Pedagogy now frequently interactive, and sometimes – Museology noisy and exciting places where new ideas – Economics can be disseminated. Museums are also · Some of the stakeholders that were identi- places of education. The Holocaust Museum fied were people and cultures who have an in Washington has established educational investment in a cultural memory, financial missions such as Master Teachers, and Po- investors, and donors. Others can be stake- lice training programs dealing with issues holders in a non-obvious way such as re- of bigotry and racism. searchers, countries, collectors, the State De- · The range of the types of visitors, such as partment, Washington, DC, the media, tour- schoolchildren or tourists, is broad. Visi- ists, and teachers. tors make up audiences and in order to · It will be advantageous to start with the at- develop a museum that is truly responsive tainable, in effect to start with low-hanging and successful it will be key to identify all fruit and work up to the higher branches. The involved stakeholders, or audiences, and museum should use all possible tools in find- then set the facility program. Audience ing the best way to promote itself. To facili- People & Place drives content and content drives audience. tate the making of a museum that is “do-able”, The two are inextricably linked and any shift there is the need to prioritize issues and goals. the audience in one requires a shift in the other. It was recommended to form a steering group

23 to work through the initial process. project should strive to be part of the cultural Experience · One risk in defining stakeholders is inadvert- institutions of Washington and to reach out ently excluding potential stakeholders, and to its residents. the unintended message that may send. De- · What type of a museum should this be? the borders fining too many stakeholders also tends to Should it reflect a “pure practitioner’s” per- dilute the contributions of stakeholders more spective or should it be a hybrid institution central to the process. Should we consider attempting to redefine a modern museum? stakeholders among stakeholders? Of criti- We should caution that it not be too elitist. cal importance is the cultural stakeholder who For example, we should consider a gallery will help define the subject matter and con- free and open at all times to allow for local tent. exhibits. · A task group was identified to help define · A political reality is there are no Latino ori- the project stakeholders. The members of this ented museums in the “capital of the Hemi- task group include Felix Angel, Margaret sphere”. Therefore, the Latin American stake- Reckord Bernal, Eduardo del Buey, Miguel holders are very important. Bretos, Lucy Duncan, Muni Figueres, Gail · The audience also includes the media and Lord, Jane Gregory Rubin, Raul Yzaguirre, politicians. and Roxanne Williams. · This museum wants to look forward, not back. · The Inter American institutions are critical In so doing, we must be careful that in pre- stakeholders. This family of institutions in- senting contemporary art we are not rein- cludes the OAS and IDP, both of whom are forcing stereotypes often implicit in this work. central to this project. · One way to categorize visitors is to acknowledge the regular or accidental visitor, and one for whom this new institution will fill a WORKSHOP 4: EXPERIENCE purpose. The former is whom we consider the “normal” museum-goer who frequently Introduction – Roxanne Williams visits cultural institutions; the latter is not a typical museum-goer who would not regu- Quantifying an abstraction, such as visitor expe- larly visit a museum. rience, will help clarify the museum’s mission. · We must be careful not to be too much for Experience is manipulated by wide-ranging com- too many people. ponents such as cultural background, education, · The integration of a city populous with its and political versus geographic delineation. The cultural institutions is important. New York questions we first ask can reveal key issues, com- City is a very successful precedent. Our plex and simple. Some of the questions asked

24 — What is the translation of that heritage?

Sacred

— Is the notion of the museum as a sacred place, or the idea of sanctuary outdated? Museum of the Americas Flexible — How do museum spaces evolve or adapt meeting minutes to changes in museology? Interactive — To bring joy in a shared positive experi- covered the following topics: ence? — Redefine stereotypes to explore culture Sensory through play? — What do we see? — What do we feel? Dynamic — Does the facility look different from day — How do we identify and allow for the to night? evolution of the mission? — How does the building fit within the con- — How does a museum reach visitors that text of the neighborhood? differ greatly in age, intellect, or sophis- tication? Technological — Does the museum take the role of Evocative mothership to connect remote cultural in- — What human responses do we seek to stitutions in the Western Hemisphere? evoke? — Do we use technology to create an inter- — Do we intend to shock? national center to be used by all the mu- — Do we inundate to make a point? seums of the member nations? — What do we want the visitor to feel? — How do we celebrate dance and the Experience Social lively arts? — Do we seek to celebrate the creative ex- color pression of a shared heritage?

25 Educational Experience — Is a deeper understanding and appre- Musical ciation of the common history and unique the horizon heritage of the nations of the Americas — What are the sounds of our diverse cul- promoted? tures? — Are closer cultural ties among member nations promoted? Discussion — Are the vitality and spirit of a diverse people celebrated? The questions raised address the need to identify — Is the culture of the Western Hemisphere what the desired outcome is. What is the intended no longer marginalized by a Euro-cen- experience for the museum visitor, the researcher, tric society? the visitor who comes unexpectedly? The comments that followed this questioning were var- Apolitical ied. Some made statements as to how the build- — Is the facility apolitical? ing should look, or what overarching achieve- — Is information based on cultural, geo- ments could be made: graphical, or political boundaries? — Does the museum advance notions of · It was important that the new building respect cultural or hemispheric unity? the existing buildings on the site. These buildings are important historic structures and any Communicative new construction should save its “fireworks” for the inside; the outside should defer to the — How do we experience the idea or pur- existing neighborhood fabric. pose of the museum? · The new building should not attempt to imi- tate its surroundings, but instead be a “for- Digital ward-looking” modern expression that is respectful of the past but does not seek to repli- — Does the physical museum make ties with cate it. the virtual museum? · The new building can itself become a fusion of culture by using building materials that are Narrative indigenous to regions and places in the West- ern Hemisphere. — How is oral culture represented- the his- · The museum could be a place of recovering tory of storytelling as the generational or rediscovering the past and cultural identi- passing of knowledge? ties. There are many people and cultures that

26 sented earlier: the American public, the U.S. Latin community, and the Hemispheric community. · Experience needs to operate on many different levels. · How do we optimize visitor experience given a multi-lingual audience? Museum of the Americas · The visitor experience should explore and build on Hemispheric connections. These relate to the peopling of the Americas and how we relate to landscape. How do we express meeting minutes these connections through visitor experience and also commit to a museum of ideas? · The visitor experience needs to be personal, have lost this knowledge. The museum will yet also part of a larger whole. Technology need to operate on many different experien- allows for both if adopted and embraced tial levels to connect with differing identities. appropriately. Startrek’s “Holodeck” is an apt It is part of a global environment within a metaphor; an individual can be “transported” context of nations. to cultures, places, and times in a personal · This is also an opportunity to look at desti- and realistic way. Although technology can nies in a North-South view instead of East- facilitate a more personal relationship with West. This view recognizes that the East-West content, we need to also recognize the im- Euro-centric thinking is becoming less valid portance of group memory, which is often when considering the Western Hemisphere manifested through sensory experience. Tech- from the perspective of time from the Pre- nology has the opportunity to reach outward Columbian era to present day. (group) and inward (personal). · The museum should perhaps be about the · The visitor experience should recognize and present and the future – performing arts and visualize an emerging reality of a global en- cultural stories. The interpretation of the past vironment within a context of nations. Given has inherent risk for stereotyping. By being this assumption, national boundaries, pass- proactively forward-looking, stereotyping ports, etcetera disappear. Robert Wrights’ may be avoided. Nonzero articulates a common destiny to- Experience · The museum needs to allow for meaningful wards globalization that began at the ad- experience for the various audience types. vent of civilization and whose latest mani- are we apolitical This point is valid for the three audiences pre- festation is the border-less Internet.

27 · The building should manifest a fusion of — Publications Experience physical, technological, and natural resources — Latin American spirit that help characterize our Hemisphere. shock · An historical narrative is critical to visitor Other organizations identified were: experience. History is exciting. Moreover, — The Inter American Development Bank through a careful study of our shared his- (IDB) tory, we can recover our identity. — American Society — International partnerships among museums such as The International Partnerships Among Museums (IPAM), the American WORKSHOP 5: CULTURAL RE- Association of Museums (AAM), and SOURCES long-term sustaining relationships — Similarly successful institutions such as Introduction – Gail Lord the UCLA Fowler Museum for Cul- tural History, Natural History and Fine Break-out groups were formed to discuss the is- Arts, the Royal Ontario Museum (ROM), sues related to cultural resources. The cultural re- Chicago-sacred landscapes, art institutes, sources that were identified for the purpose of and arts organizations such as the Na- the Visioning Session were precedents, partner- tional Institute of Fine Arts (INBA) and ships, collections, and topics. The views presented the National Institute of Anthropology and are the views of that group, and not a statement History (INAH) in Mexico of consensus. The notes for this section are tran- — U.S. national cultural policy, where re- scribed from the group presentations. sponsibility for the promotion of culture is community-based Precedents: — AAM as conduit of individual museums

Precedents were established as organizations that Precedents for process: could provide assistance with the identification — The National Museum of the American of an appropriate mission, mandate, and vision. Indian and the Museum of Health and Within the OAS the following precedents were Medicine, both located in Washington, identified: DC were recommended as models simi- — Inter-American Institutions lar to that of the Museum of the Ameri- — Programs cas. — Visual Arts — Archives Contacts helpful to the mission could be:

28 ship.

The use of satellite facilities was also discussed, as were travelling exhibits similar to those the IDB coordinates.

Partnerships: Museum of the Americas Many opportunities exist for forming partnerships and there are many different applications to partnering. Expertise, collections, insight, and meeting minutes public and museology educational programs are all applications to the partnering process. One example of such an application is the relation- — Rick West; Executive Director of the Na- ship that currently exists between the National tional Museum of the American Indian, Institute of Anthropology and History in Mexico, and Doug Evelyn for their experience and the Canadian Heritage Institute, and Industry interpretation Canada. — Smithsonian with respect to its treatment of the Cultural Center in Suitland, and its Future partnerships could include the Smithsonian overall collection repository Institution, the Getty Museum, universities and community colleges, Washington D.C. tourism Comparable or values models: organizations, the IDB, regional umbrella orga- — The first community cultural center, Peru nizations in the U.S. (Latino, etc.), Congressional — The IDB-led development of a honey gath- leadership, individual cultural collectors, minis- ering facility that supports a cultural cen- tries of education similar to those in Latin ter and its collection, within the commu- America, European cultural connections, cultural nity attaches, embassies, constituents, and the IberoAmerican summit in Mexico. Additional Collection ownership: partnerships can be developed with ministries of — Questions were raised, but not resolved, culture such as library services, museums, cul- regarding the issue of collections: who tural centers, folk arts, performing arts, and na- People & Place owns the collection, what the stance on tional archives. the repatriation of objects would be, and physicality who would provide collection steward- Important memberships can be developed with

29 AAM and CIMI. In-house or guest curators? In-house — Experience — Resources? Restoration Possible corporate partners and foundations were — Resource center? OAS partner identified as: Cisco, Microsoft, Standford, Tyco — Travelling exhibitions? Plan for strategy technology Elec., Lucient, Avayh, Riggs National Corpora- and technical development tion, the Bacardi Family Foundation, Visa, HP, — Provide museum services for loaned col- PhM, Global X, and C. Slim/Telemex. lections

Priorities for the team should be: Topics: — The development of credibility for the museum within cultural institutions and This discussion focused on the possibilities re- involvement with similar associations to lated to museum exhibits. Because of the many build a knowledge network permutations of exhibit content, method of pre- — Identification of current and future fund- sentation, and implementation, the topics Anthro- ing partners pology, the Arts, Culture, Science, Nature, and — Identification of user groups and visitors Spirituality were proposed by the HNTB vision- — Media partnerships ing team as starting points for discussion. The topics group identified the discussion points listed Collections: below: — Long term/short term – availability of There are critical questions, such as setting strat- space for short term/rotating exhibits. egies and identifying goals, identified with the These rotating exhibits are essential for issue of collections. The discussion of these is- countries/for connections. sues began with the following points in order to — Exhibits must be available in virtual begin forming guidelines. The bullet points iden- state®parallel process tify the questions and the group consensus fol- — Accurate historical presentations for per- lows in bold type. manent exhibition — On-site collections? No — An anchor — Borrow all collections? Yes — Migration®starting point — Establish affiliates? Yes — Slavery — Policy on accepting collections? Prepare — Subjects that cross borders strategy and policy. — Dynamic presentation of migrations — Resources? Member states, national — Show roots Pupose museums, private museums and collec- — Show early artifacts from countries where tions past may not have been known promote

30 — Explore how the nation idea developed; how complex life is within a nation — Multi-level timeline: language, migration, culture, trade, travel; expandable, con- trollable perspectives — Contemporary celebration of art and culture: live events, visual arts, snapshots of Museum of the Americas different communities in different times — Present colonial society: slavery, exploi- tation — Use theater and performances meeting minutes — Food/edible exhibits — Smells of different cultures, eras, places — Feature cinema, TV — Show how information is found- e.g. — Access to real and virtual archives show archeological dig leading to the — Show how changes in technology have knowledge obtained changed the cultures; e.g. telephone — Timeline of history- bottom line- rich — Permanent exhibition: broad overview of history - dynamic WORKSHOP 6: VISION — Participant experiences — Show where events/developments di- Vision Statement verge- special spaces — Landscape/natural history: to show The formulation of a vision statement involves sift- physical environment in different eras ing through complex issues and narrowing a fo- — Sound- very important; music from dif- cus down to the most important criteria. The fo- ferent regions cus reveals the statement of need, overall aspira- — Needs to be a multi-lingual experience- tions, and the level of quality for the museum. wall of language Experience The statement is inclusive of its stakeholders, but — Multi-disciplinary/multi-perspective it also cannot become overly inclusive without — Gallery spaces which can be digitized/ methods & materials the risk of becoming so dilute it ceases to be downloaded effective. — Feature contemporary life that crosses boundaries The following points related to the vision were: — Show how diversity developed — The museum would exhibit unusual fore-

31 sight be. The reflection cards and notes from the day’s Experience — Be a thing of extraordinary beauty discussion were used to prepare a first draft of — Impact that this museum will have the vision statement: sacred The vision was approached as the purpose of The museum is a place that connects people of the mission, and the reason and inspiration for the Western Hemisphere through a search for the museum. The mandate is the definition of our common roots to explore our past by identifying parameters. Themes relevant to the exploration truth and understanding differences to inspire our of the vision were: future. — Inclusivity — Global connections Discussion: — Commonality within diversity — Searching for roots The comments that followed the draft statement — Truth of the vision identified the important issues re- — Flexibility in the physical sense as well lated to the museum’s mission and mandate. as being viewed as a “holodeck” — Personal · The museum should be: — Immersive — Inclusive, respectful, networked, personal, — North-South versus East-West and immersive — Tie between virtual and physical — A place that combines the vitality of youth — Transcending stereotypes with rich, ancient traditions — A place where “please touch” replaces Issues that are key to narrowing the focus in or- “do not touch” der to find the vision are: — Prioritization of stakeholders — Context NEXT STEPS — Future and past — Optimizing place The next steps are to identify the mission and — Multiple perspectives mandate for the museum. While the vision de- — Who tells the stories fines the overarching goal, the mandate is the — Representation authorization to carry out the vision, and the mission identifies the specific task with which the During the charrette attendees were given “upon group is charged. While progress was made in reflection” cards and were asked to write down the development of these tasks there is still need their initial thoughts about what the museum could for clarification. Two break-out groups were iden-

32 Museummeeting of theminutes Americas

tified to work further - one group will approach perspectives, such as who tells the stories, and the issue of building programming and one representation of all cultures of the Western Hemi- group will identify and define the museum stake- sphere. holders. The day concluded with closing comments by Lucy Discussion Duncan and Greg Powe.

The discussion related to the mission and man- These minutes represent the general discussion date centered around themes relevant to the mu- of the Visioning Charrette. All attendees contrib- seum: inclusivity, global connections, finding com- uted greatly to the base of critical knowledge and monality within diversity, searching for roots, truth, it is our hope that their intent was correctly re- flexibility-physical and virtual (holodeck), per- corded. sonal, immersive, North-South vs. East-West, ties between virtual and physical, and the ability to 1 The bulleted remarks in the meeting minutes transcend stereotypes. represent the comments and ideas of individuals. These remarks are listed chronologically. Toward the conclusion of the Visioning Charrette Purpose several key tasks were identified. These tasks were the prioritization of stakeholders, identification inspire of past and future context, the optimization of place, recognition of the importance of multiple

33 appendix

34 Museumvisioning of the charrette Americas attendees

American Association of Museums Jerold Kappel

Bacardi Family Foundation Robert O’Brien

Canadian Museum of Civilization Michel V. Cheff

Hill & Knowlton Victoria Clarke

HNTB Mark Erdly Michael Mills Greg Powe Tom Storrs Experience Susi Thum the dynamic Roxanne Williams

35 Holocaust Memorial Museum Museum of the Americas Foundation Experience Mark Talisman Fabiola de Amarante Kay Clark Inter-American Development Bank Lucy M. Duncan technology Felix Angel Sonal P. Narang Muni Figueres National Capital Planning Commission LORD Cultural Resources, Planning and Ronald E. Wilson Management Gail Lord Organization of American States Hugh Spencer Susan Benson Catharine Tanner Eduardo del Buey Shellie Williams Luiz O. Coimbra James R. Harding Museum of Modern Art Raul Sanguinetti Jay Levenson L. Ronald Scheman

Museum of the Americas, Board of Directors Riggs National Corporation Dr. Miguel Bretos Timothy C. Coughlin Ana Milena Gaviria Frank Gomez Stanford Group Jane Gregory Rubin Jay T. Comeaux Raul Yzaguirre The Americas Society Gabriel Perez-Barrerio

Tyco Electronics AMP Charles Fox

Carribean Cultural Expert Margaret Bernal

36 - Educational purpose - Cultural center for celebration of Latin American heritage through art - Creative design of the physical museum portraying unity with diversity - A place where people of the Americas can trace their cultural “roots” through Museum of the Americas art 3. - Connectivity - Integrity upon reflection cards - Is the door OPEN? - Encapsulate - Reach out, reach in UPON REFLECTION - Over time, over space - Profound After the Experience workshop, participants were - Recovering identity asked to write on the cards provided their thoughts on the vision for the museum and key issues con- 4. Foster understanding of the cultures of the cerning what the museum might be. These cards Americas, share in our commonalities, and were instrumental in the writing of the draft foun- celebrate our differences. dation statements. The following is a transcript of Understanding leading to peace and pros- each card. perity

1. If you know the audience you want you can 5. Love of the Americas get them with the right exhibits. The building - The culture of my people, places through should emphasize the distinction from Wash- art, stories, music, dance ington, DC - capital of the USA. Like the - What is common? Different? Experience Vatican is distinct from Rome. Exhibition - Interpret the Americas through 5000 space is important but perhaps the collec- years the interactive tions should belong to local “associate insti- - Back – and look forward tutions” - Can we learn from each other – to share dreams, ambitions, love of family, reli- 2. - “Home” of the virtual museum gion, purpose, art, history - Showcase for blockbuster exhibitions - Nations are people and place as is our

37 region 10. Vision of the museum – A virtual, interactive People & Place 6. The essence- telling authentic stories of the and a brick-and-mortar place focused on the constituent cultures, stories that are honest but history of the Americas, a place to recover physicality not necessarily “politically correct”. That our historicity. speak with an insider’s voice but that address the knowledge of a non-insider visitor. 11. Goal: Creating interest and understanding with our neighbors which will have the effect 7. I believe this brick-and-mortar museum of greater tolerance and improved relations. should envelop the rich cultural heritage of This gives everyone a vested interest. this Western Hemisphere. The art, culture, heritage of these lands should be displayed; 12. The Museum of the Americas should/could should be interpreted; should be taught; be: should be appreciated; should be constantly - A platform and a forum for the visitor nurtured. The views of many people world- experience wide should be broadened by this new mu- - Guarantee specificity as a knowledge seum – gone should be old stereotypes and and intellectual authority warranting per- adages and in with the new, fresh, truthful sonal learning portrayal of the multi-cultural, unique, and - Enable participants and visitors to better many, many peoples of the Western Hemi- assess and understand one’s own per- sphere. sonal life - Be a flexible structure, both architectur- 8. A place that transcends time, cultures, poli- ally and organizationally in order to tics with a unique spirituality. The purpose is plan, produce and offer projects, which to educate and to enlight(en) – only then do enable teamanship and interdisciplinarity we become one. - Be a dynamic learning and exchange center by and for people 9. The new museum of the Americas should be - Offer spaces conducive to personal and an institution where people can be informed, collective learning learn and celebrate the cultures of the Ameri- - An organization which uses curatorial ex- cas through visual, plastic and performing pertise from across the Americas on an arts and through programs designed to high- “as required” basis in order to use ex- light historic and artistic, hemispheric, re- pertise at its best gional and national identities in the context - Be a welcoming, bright, comfortable and of continental and world context. safe place for its workers and its visitors

38 way to do it in absolute terms. At some point soon, someone will have to take intellectual ownership of this project.

14. The museum must be a mirror I can go be- yond – see myself past, present, and future yet connect with others through the looking Museum of the Americas glass. 15. - Whatever physical setting is created, it should include all the site described, ie upon reflection cards the State Department site and the Bolívar (Park Service) interpreted with the axis to the Washington Monument. - Discussions, seminars, brainstorming - The biggest problem is that the site is lo- about cultures across the Americas cated in Washington, DC, the capital of should occur daily bringing people to- the United States, a major issue of cul- gether tural hegemony in the Americas. What- ever else, the physical site should give 13. We never decided what this thing is for. There- the visitor the immediate physical sense fore all the other issues are secondary to this. that they have passed out of the particu- There are very serious, major issues which lar and into the spirit of the universal must be addressed: e.g. “America”. - Is this an art/heritage museum or a cul- - As to program, I do not feel that we tural history museum? should compromise with the integrity of - Is it celebratory or truthful? basic information gathering which has - Is it a foreign policy or US domestic been inadequate to date. Basic research policy issue? needs to be done as to cultural resources - Who will be allowed to tell the story? af the Americas broadly defined, eg. An We are concentrating on details, which should installation only on sound, “the be resolved, once there is a mission. Ulti- storytelling environment”. mately this will all rest on a political deci- - Once these resources are identified the Experience sion, and we should acknowledge this from first exhibits should relate to the areas of the outset. Which story will be told is a po- prior neglect. In this regard the museum color litical decision. There is no right or wrong should be a shameless opportunity,

39 icebreaking preexisting projects that Experience should reach a wider audience. This place must be the center for searching - Special exhibits should focus on projects throughout the hemisphere through the en- that seek to bring specific audiences to gagement of the best people, talents, and arts do we innundate the museum or that define universal the hemisphere has to offer. themes or processes of discovery – such as the increasing importance of or 17. Essence of Museum: archeo-astronomy in precolumbian stud- A bridge through which to link diverse ies. They could also unite collections as peoples by touching their hearts, minds and specific types/objects scattered by his- souls. torical circumstance. - If there is a collection, it should be as 18. What the museum should be? electronic as possible either in collective - History/Archeology/virtual museum of databases of New World materials or the people of the Americas cultural materials based in sound. With - Themes: migration, slavery, colonial its expertise in cultural resources of the times, indigenous people Americas, it could however act as - Collections: Arts/crafts, traditional art, “brother/or advisor in regard to place- historical objects ment of work in other institutions. - Activities: exhibits, permanent collection, seminars, virtual site 16. The basis of this museum must be honesty of - Not Hispanic, Latino, Caribbean, or US portrayal and truthfulness of testing each and centric; but Hispanic, Caribbean, US, every object of the telling of the history. The and Canadian together! objects, the items, the art, those aspects con- - A place where the “please do not touch” structed for purpose of story and history tell- is substituted by “please touch” (interac- ing. Each must have two sources of prov- tive) enance to assure truthfulness into the future. 19. I would like the museum to be: inclusive, re- This place must be the most exciting temple spectful, didactic, innovative. to this overall subject which otherwise could I would like the building to reflect the young not be imagined. vitality of the cultures of the Americas, as well as their rich ancient traditions. Through the convergence of the best technology, language, arts, music, a child’s mind 20. Our museum is a “place” that connects must be captured to allow word of mouth to people of the Western Hemisphere through assure success for the future.

40 Museumupon reflection of the Americas cards

a search of our common roots to celebrate our past by identifying truth, and understanding differences and promote our common future.

21. - No historical kitsch - Emphasis on the historical dimension of the Western Hemisphere story - Prioritize institutional collaboration with Latin America, Canadian partners

22. The American Continuum - Gateway, entry point to America - Western American Hemisphere of the global brain* - Virtual tour, timeless borderless – meaning respect for past, for identities, as a Purpose tool for the future - There is no future without a past entertain * as in Non Zero by Robert Wright